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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4372


    Title: 焦循劇論研究;The Study of Jiao Xun's Drama Theory
    Authors: 李思漢;Szu-han Lee
    Contributors: 中國文學研究所
    Keywords: 文學代勝;《劇說》;《花部農譚》;學者;文人;焦循;Scholar;Ju Shuo;Hua Bu Nong Tan;Jiao Xun;Renaissance man
    Date: 2009-06-29
    Issue Date: 2009-09-22 09:17:43 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 清代雅與俗兩個文化場域分庭抗禮,各自發展出了具有「辨識作用」的消費習慣、生活情趣、文化品味與思想意識等指標;戲曲史上,乾隆開始浮出檯面的「花雅之爭」的背後,甚至牽涉到了關於「觀眾」階層的角力。文人與學者兩種身分雖然在戲曲批評中涇渭分明,然而焦循(1763-1820)這位被歸類為學者的乾嘉經學家,跨足到文人發揮的戲曲場域中,又能被後人持續關注,他的出現是否意味著文人和學者這兩個身份的融合與轉化將出現不同以往的詮釋? 本文提出焦循以文學「一代有一代之所勝」的觀點,具體發揮「前代所無」、「理法建構」與「接受者的認同」三個原則來肯定清代盛行的花部戲。此外,在「有益風化」為文學、藝術表現目的的最高指導原則之下,焦循看重戲曲的教化功能,認為舞臺上所搬演的只是為傳達醒世寓意所做的一種包裝。焦循並且運用考證方法,讓戲曲的批評不單單停留於主觀意識強烈的印象式批評視角;藉由史料的解讀,建構戲曲藝術從古至今在人類文明進程中所貢獻的意義。 在研治經學卻熱愛戲曲;講述詞章又不離經學的協助之下,學者和文人所關心的重點,焦循兼而有之,學者與文人的分際就悄悄地在焦循的形象上模糊難辨了。他甚且跨足在雅與俗的中間,成了兩者溝通的橋樑;在他身上可以看見屬於雅部的典範與品格,而同時又能反映出花部包容、開放的多元價值觀。 This text puts forth Jiao Xun (焦循,1763-1820) with the standpoint of literature "the generation have its own win", concretely develop "the ex-generation had no" and "method construction" and " the identification of the accept " three principles to affirmative the drama which in the Qine Dynasty. For the sake of "To be beneficial to the morals and custom" , Jiao Xun think greatly of the culture function of the drama, and he believed that the performing arts was just a kind of packing that with the implied meaning .Jiao Xun and use textual research method, make the critique of Chinese drama not only remain in the subjective impression type. By the reading of historical data, constructed the meanings that the Chinese drama contributed at the mankind's civilization process from the ancient time up to now.
    Appears in Collections:[中國文學研究所] 博碩士論文

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